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Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

Bill Haley and the rock ’n’ roll cinema riots
Anna Ariadne Knight

4 ‘A teenage revolution’: Bill Haley and the rocknroll cinema riots My own opinion is that if it hadn’t been for Blackboard Jungle all this would never have happened. Anthony Carthew, Daily Herald, 20 July 19561 Our boys and girls are a grand generation, but, as always, they need discipline. There is nothing like the discipline of work and service to knock the RocknRoll out of these babies and to knock a bit of sense into them. ‘Rocknroll babies’, Daily Mail, 5 September 19562 On 5 February 1957, hundreds of British fans waited for Bill Haley to

in Screening the Hollywood rebels in 1950s Britain
Abstract only
The rise of the Angry Young Men
Anna Ariadne Knight

popularised method acting. The film reviewers of specialist cinema journals, who championed this experimental American acting, were dubious about the proliferation of the Young Rebel trope in European cinema.2 Violent Playground (Basil Dearden, 1958) was the first of many British films that exploited their leading man’s resemblance to James Dean and drew inspiration from the familiar Hollywood motifs of juvenile delinquency and rocknroll. In the film, David McCallum – who had been promoted as ‘the British James Dean’ – plays Johnny, a maladjusted teenager whose

in Screening the Hollywood rebels in 1950s Britain
Blackboard Jungle fever in the classroom
Anna Ariadne Knight

Jungle did not privilege a charismatic rebel but it provided other compensations for young audiences. The BBFC’s ‘manifesto’ demonstrates its heightened concerns about the stimulant effects of screened violence on Teddy boys. Streamlined and dramatised by Hollywood’s slick production values, which included the exciting rocknroll soundtrack, the board recognised that the film cast a glamorous sheen over undesirable themes. As a result, the censors worked to dismantle mise en scène that conferred kudos on the classroom rebels. They scrutinised and deleted what they

in Screening the Hollywood rebels in 1950s Britain
Elvis Presley as a rock ’n’ roll rebel
Anna Ariadne Knight

5 ‘All-singing, all-fighting man’: Elvis Presley as a rocknroll rebel If I thought for one minute I was contributing to juvenile delinquency I’d go back to driving a truck. Elvis Presley, ‘Why do they Criticise me?’ (1957)1 When [Elvis Presley] fixes me listlessly with those cold eyes, curls those insolent baby lips and, in a palsied paroxysm, sings ‘Treat Me Nice’, I yearn to treat him very nasty indeed. Cecil Wilson, Daily Mail (1958)2 In the early hours of 3 March 1960, on the completion of his army service in Germany, Sergeant Elvis Presley touched down

in Screening the Hollywood rebels in 1950s Britain
Popular music
Sean Campbell and Gerry Smyth

’s musical range was extremely wide: they played jazz instrumentals, novelty pop, calypso, rocknroll, show tunes, Irish ballads, Country ’n’ Western – any form of music, in fact, that would elicit a response from their audience. They introduced glamour and personality into a practice that encouraged reticence, if not outright anonymity. They broadened the age range of the audience for live music consumption, making it an attractive form of leisure practice for everyone, from teenagers to pensioners. Primarily, however, The Clipper Carlton were a dance band: their job

in Northern Ireland after the troubles
American negativity and rap/metal in the age of supercapitalism
Author: Scott Wilson

The seductive force of American supercapitalism unlocks new markets, unleashing the energy of desire, and provides a destructive version of Satan's rage. At the vanguard of this seduction has been the youthful rage and rebellion of the devil's music, American rock 'n' roll and its multiple related subgenres. This book looks at the most pervasive forms of American popular music in the post-cold-war period. Gangsta rap exploits and informs the consumption of luxury brands. The 'mom and pop rage' of the nu metal bands self-consciously exposes itself as the violent expression, the excess of the implacable banal excess, and of shopping-mall consumerism. The book explores the negativity and the 'niggativity' of American rap/metal in the 1990s in relation to a number of key events in the decade such as the Rodney King riots and the Columbine High School massacre. On the face of it, the gangsta 'nigga' is an unlikely point of identification for suburban white culture. But the phenomenon of the 'wigga' (white, wanna-be-nigga) and the success of companies like Nike testify to the fascination that such a figure holds. Rage Against the Machine (also known as Rage or RATM) do not normally have problems with machines, indeed their music and living depend upon them. Rather, the 'machine' is for Rage another word for the new world order of global capitalism. Death metal groups such as Morbid Angel and Deicide aim to outdo the others in its singular relation to death, shock and outrage.

From Reeves and Mortimer to Psychoville
Author: Leon Hunt

The TV debut of Vic Reeves Big Night Out on Channel 4 in 1990 is often seen as marking a turning point for British TV Comedy, ushering in what is often characterised as the ‘post-alternative’ era. The 1990s would produce acclaimed series such as Father Ted, The League of Gentlemen and The Fast Show, while the new century would produce such notable shows as The Mighty Boosh, The Office and Psychoville. However, while these shows enjoy the status of ‘cult classics’, comparatively few of them have received scholarly attention. This book is the first sustained critical analysis of the ‘post-alternative’ era, from 1990 to the present day. It examines post-alternative comedy as a form of both ‘Cult’ and ‘Quality’ TV, programmes that mostly target niche audiences and possess a subcultural aura – in the early 90s, comedy was famously declared ‘the new rock’n’roll’. It places these developments within a variety of cultural and institutional contexts and examines a range of comic forms, from sitcom to sketch shows and ‘mock TV’ formats. It includes case studies of Vic Reeves and Bob Mortimer and the sitcom writer Graham LInehan. It examines developments in sketch shows and the emergence of ‘dark’ and ‘cringe’ comedy, and considers the politics of ‘offence’ during a period in which Brass Eye, ‘Sachsgate’ and Frankie Boyle provoked different kinds of media outrage. Cult British TV Comedy will be of interest to both students and fans of modern TV comedy.

Debates over cultural conventions in French punk
Jonathyne Briggs

late 1950s appeared to offer an expression of defiance against social norms, especially rocknroll with its emphasis on rhythm, noise and innuendo, and the reactions against rocknroll in the USA, France and West Germany suggest that political and cultural elites took the music’s critical potential seriously.3 Rocknroll and other genres of popular music were central to the construction of subcultural identity, serving as a form of social cohesion among audiences. Often perceived as a revolt based in style, subcultures gained the interest of scholars in the

in Fight back
Auteurship and exploitation in the history of punk cinema
Bill Osgerby

11 Silver screen sedition: auteurship and exploitation in the history of punk cinema Bill Osgerby ‘Will your school be next?’: mischief and mayhem at Vince Lombardi High Teen rebellion is a force to be reckoned with at Vince Lombardi High School. The setting for the punk-musical-comedy RocknRoll High School (1979), Lombardi High has seen a succession of principals driven to despair by the recalcitrant students. Led by Riff Randell (P. J. Soles) – a nonstop party girl and fervid fan of punk stalwarts, the Ramones – the school kids are a font of adolescent

in Fight back